Throwback Thursday: Christina Aguilera - Hurt (Deadmau5 Electro Mix)

For 2021's first Throwback Thursday, I figure there are few better places to start than with one of my earliest memories of 'EDM' (a term that hadn't yet been coined), this Deadmau5 Electro Mix of Christina Aguilera's "Hurt." While officially released as a JP (Jonathan Peters) & BSOD (Deadmau5 & Steve Duda) remix, I first encountered it through Nigel Newton's Galaxie Dance channel on Bell Satellite Radio, mislabeled as a Deadmau5 mix. Regardless of its accreditation, this electro offering is immediately identifiable all these years later. Matching the power and intensity of Christina's killer vocal chops, this remix is all but unhinged in its throbbing and gut-wrenching glory. Staying away from the incongruous strings and focusing more on the raw, strained emotions of "Hurt," JP & BSOD capture the overblown and overwhelmed intensity of the original. Defying the critics who called the original over the top and schmaltzy, this remix doubles down on the overwrought weepiness. And I, for one, feel this was the right choice. Spasmodic and seething, convulsive and crazed, this electro affliction now matches the impassioned ethos of its lyrical content. Its energy is inescapable, empowering its listeners and making the workouts I was doing at the time fly by. Get a shot of that fight or flight adrenaline below.

Throwback Thursday: Scissor Sisters - Comfortably Numb

Every time I'm reminded of Scissor Sisters, my heart fills with joy and optimism. Their glamorous style (both musically and visually) is so undeniably inspiriting. When I was first able to explore the seemingly infinite world of music upon entering university, I immediately fell for their then-recent singles "Any Which Way," "Invisible Light," and later "Only The Horses." However, it was their earlier cover of the 1979 Pink Floyd classic "Comfortably Numb" that had me in pieces. Hearing it again in DJ Touche's 2004 Essential Mix yesterday, I figured it was time to return the spotlight to this sublime, energetic and disco-inspired affair.

Staying close to the original both in the lyrics and structure, albeit less on the latter, Scissor Sisters flip "Comfortably Numb" into a fabulous fever dream. Where the story of the original Floyd offering sees its protagonist Pink taking tranquilizers to make it through his show, the injection in the Scissor Sisters version is anything but a downer. Hallucinatory either way, the Grammy-nominated 2004 version sees Jake Sheers and the accompanying vocals take on the role of ostensible sprites singing a psychedelic siren song from the unexplored recesses of the mind. This fallacious fairy-godmother-like guidance takes the place of both Waters' and Gilmour's vocals, leading the newly lush, bouncy and euphoric electronic odyssey to new heights. And while I keep on about the Scissor Sisters take being the high, with the Pink Floyd being the low; the brilliance of both is that they are not exclusively one or the other. "Comfortably Numb" finds its timelessness in part thanks to that duality. It is empowering in its painkilling, sedative strength yet frightening thanks to those very same qualities. Like any high, it must be enjoyed sparingly and safely with respect paid to its power and addictive nature. That said, we could all use a little extra strength these days, so go ahead and enjoy this power-pill now, below.

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Throwback Thursday: Screendeath - Packback

Immediately upon opening my feeds today I was struck with several waves of nostalgia as accounts shared their Throwback Thursday posts. After gorging myself on said good feelings, and coming up empty on inspiring new music, it was clear that I was also meant to share a slice of the past. I've often felt the years around 2010 produced some of my favourite and most foundational music and memories, so with that in mind, I sought out a 10-year-old track for my own Throwback Thursday post. What I came up with was this Southern Fried stunner, Screendeath's Svengali-like sensation "Packback."

Released exactly 122 months ago (September 19, 2010), "Packback" is still as potent a production as ever. One of the greatest club weapons I've ever encountered, I can confirm from first-hand experience that this Screendeath slice quite literally commands whatever club it's played in. Of course, its iconic screwface-inducing synth lead is the backbone to its brilliance, but from its opening drum rollout to its progressive finale, "Packback" is perfect.

Right from the jump, Screendeath is deliberate and methodical in mesmerizing his listeners. The opening drum groove and subsequent horn hits are unavoidably, and inevitably, infectious. Whether your toes are tapping along or not, "Packback" is already in your head. And it's clear that Screendeath is setting us up for something sick here as the atmosphere grows through the subtle genius of his percussion's progression. Then comes the best part which, despite the setup, hits you like a ton of bricks as you and the rest of the room turn into puppets under Screendeath's command. The gorgeous groove of the drums plays perfectly against the shrill, shrieking synths. The result is that "Packback" becomes a siren, both in the alarm and mythological sense, but more the latter. Never loosening his grip, Screendeath continues his chokehold as the track gets further filthy and stupefying in the second half, offering up a little extra alien inspiration in the rebuild ahead of the second drop. And with that final rollout, the club once again moves in unison, doing the "Packback" version of "Walk Like An Egyptian," all the way out of the club and into the dark of night.

Take care when playing a track this powerful as you'll likely lose all autonomy, then again, isn't that one of the best parts of music? Either way, enjoy the awesome offering that is Screendeath, "Packback."

Screendeath · Packback (Original)

Throwback Thursday: Infected Mushroom - Classical Mushroom

There aren't many artists that can boast the longevity that Israeli psytrance duo Infected Mushroom have. Making waves for more than two decades, Erez Eisen and Amit Duvdevani just released their 12th studio album More Than Just A Name on Monstercat in March, but today we're turning the calendars back more than 240 months to January 2000 and the timeless brilliance of Classical Mushroom. Their sophomore sensation stretches well over the hour mark with a mere nine tracks, each epic in their own right. Always eager to expand their boundaries, the duo's addition of more typical, organic instrumentation and so called classical sounds, is precisely what made this album such a stunning success.

"Bust A Move" is as exceptional an opening track as you'll ever encounter. With the rolling piano opposing the rollicking psy-warp sensory overload, it's likely to leave your jaw on the floor as you dance around it in some kind of arcane ritual. Maintaining that mystical allure, "None Of This Is Real" is guided by godly guitar shredding which emanates from the vast obsidian infinity that each psy-trance track exists within. Burrowing into your brain, Infected Mushroom successfully blurs the line between our workaday, humdrum reality and this new vivid exciting soundscape, especially as the next track, a really gorgeous groover, "Sailing In The Sea Of Mushroom" takes hold. Firmly entrenched in this ultra-amplified irreality, "The Shen" doubles down on the dopamine making each orchestral sweep that much more moving as each additional flurry (organic or electronic) forces the listener further down the rabbit-hole that is Classical Mushroom.

Splashing down in the mesmerizing middle, "Disco Mushroom" employs the same brilliant blend of bright, beautiful top-notes with the dirty, driving psychedelic swells and masterful movement that gives the track so many lives and magical moments. It is at once scorched earth while also cool and calmly crafted cinematic, musical wizardry. This theatrical touch once again plays in "Dracul," not just through the clip from Bram Stoker's Dracula, but in the chilling, chase-scene quality of its unwavering, undead energy. The unholy nature of Classical Mushroom hits its peak in "Nothing Comes Easy," but it and "Mush Mushi" strike me as the only misses in the album. I don't mean to say that they are bad, but they don't capture the same creativity and genius as their counterparts. I will say "Nothing Comes Easy" is cool in its guttural vocals, but the rest of the track strikes me as unremarkable - an indistinct album cut. This largely describes my feelings towards "Mush Mushi," whose greatest facet comes in its fluidity and seamless progression. Both are powerful pieces, but pale in comparison to the incredible tracks that surround it, especially the ingenious finale "The Missed Symphony."

The depth, breadth and vast scope of this closing number is simply stunning. There's mountains of movement, making room for essentially everything that's come before it in Classical Mushroom, turning the track into an almost 'best-of' epic. It is cohesive, cruising through its 10+ minute runtime with ease, making it another undeniable highlight in an album overflowing with them. While there are many points in the album in which Infected Mushroom really catch their stride, it's those points in "The Missed Symphony" that are the most rewarding for me. There's multiple moments of relief/jubilation when the pressure of the tension pops and the track roars forward in fantastic synchronous harmony, but none better than the finale of finales, starting just before the eight minute mark and running through to the final notes.

I'm grateful to the friend that introduced me to Infected Mushroom (by way of "Bombat") so many years ago, and for lighting the fire of exploration that still burns within me today, without that I wouldn't where I am now, nor would I have encountered this foundational and truly inspired album. Enjoy Classical Mushroom below and if you dig it I highly recommend exploring more of Infected Mushoom's catalog, especially their brilliant 2007 album The Doors Remixed. More of my Throwback Thursday posts here.FOLLOW INFECTED MUSHROOM: FACEBOOK SOUNDCLOUD TWITTER

Radio Soulwax Presents CELESTIAL VOYAGE PART 1: QUEST FOR ORLOK

There's no denying the legendary quality of the Belgian Dewaele brothers, their work as part of Soulwax and 2manydjs is truly timeless. As part of today's Throwback Thursday post we go back nearly a decade to the initial release of Radio Soulwax's amazing Celestial Voyage and its debut episode "Quest For Orlok."

A multimedia masterpiece, the hour long episode is space themed and dives through largely disco driven tracks, but basically makes room for anything under the night sky. Of course the selection and mixing is masterful, but the coolest bit of this throwback is the accompanying visuals. The album art nearly jumps off the screen, flowing forward like the infamous Star Wars openings, and somehow breaks free of their two dimensional depth, further bringing each track to life. The Star Wars style delivery is fitting in that the main theme is remixed here, as well as the likes of The Bee Gees, Jean-Michel Jarre, and Comet, who turn Lord Of The Rings into space disco.

Soulwax recommend watching and dancing to this in a darkened room without any distractions. It's as good as an escape as most of us can get right now. Enjoy on Facebook below or Vimeo here.

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Throwback Thursday: Cashmere Cat - With Me

After feeling largely uninspired today, I played through a bunch of oldies, remembered some good times and tossed around a bunch of ideas for Throwback Thursday posts, but for the most part couldn't shake the malaise that shrouded my psyche. So instead of a longer, more detailed write-up I've opted to get right to the point with this incredible Cashmere Cat track. "With Me," the first track I ever heard from the Norwegian wunderkind, is an all-time epic. It showcases the breathtaking beauty so often found at the heart of his tracks, as well as the inspired play with both the tremendous tension and potent percussion. The finale is perhaps one of the most powerful, edifying and uplifting releases I've ever encountered. It is ridiculously resonant no matter whether on ear buds or a proper system, and it is with the latter that I recall saying "there's nowhere I'd rather be than in the arms of Cashmere Cat's music," as it poured out of the speakers at The Hoxton. Enjoy below and be sure to check out Wedding Bells and Mirror Maru.FOLLOW CASHMERE CAT: FACEBOOK SOUNDCLOUD TWITTER

Throwback Thursday: Katy B x Geeneus x Jessie Ware - Aaliyah

At some point today I decided I'd do a Throwback Thursday post and I tossed around a couple ideas, largely centered around incredible vocal performances. I thought about Gregor Salto and Funkin Matt's remix of Mariah Carey, Syn Cole's remix of Jennifer Lopez, Anabel Englund with Lee Foss and MK (either "Electricity" or "Ghost In The System") or MK's remix of HAIM. However as I listened to the latter on YouTube, my eyes were drawn to the name Julio Bashmore which reminded me of his work with Jessie Ware and in turn I was reminded of her track with Geeneus and Katy B.

Behold 2012's utterly breath-taking "Aaliyah." I'll start by saying that even on today's third listen, this time as the two divas sang live at Wireless Festival 2013 (see here), I was nearly brought to tears by the rush of endorphins as Jessie Ware came out for the second verse. These are two of my all-time favourite vocalists, both delicate and divine while remaining ridiculously powerful despite their restrained delivery. They both spin silky and sublime webs with their bewitching warmth. And it is this incredibly captivating and catchy quality that makes Geeneus' groovy bed such can't miss magic. The bounce is clean, crisp and beautiful. It flows fantastically through each verse and chorus letting its ever expanding luxuriousness lift up each vocal. This is never better noted than in the invigorating second verse in which Ware's whisper quiet vocals clash with the electrifying clicks and bleeps. There's no hope here but to give in to the groovy gorgeousness and bow down at the feet of this trio as they work their witchcraft/wizardry. The aura of "Aaliyah" is truly transfixing. Breath in its brilliance below.FOLLOW KATY B: FACEBOOK SOUNDCLOUD TWITTER
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Throwback Thursday: Flux Pavilion ft. Example - Daydreamer (Jack Beats Remix)

After my iPod shuffled into some nostalgia as I made my way home last night, I figured it was time to recall the incredible power of Jack Beats' genius remix of Flux Pavilion "Daydreamer."

Keen observers will note my Throwback Thursday posts primarily take place around 2010 (give or take a few years) and this is no different. At the time this track was released I was perhaps on my biggest Jack Beats kick as they has just dropped their Donae'o collab "You Should Know" and were not far from releasing their inspired OWSLA debut Somebody To Love.

While I go back through these records I'm in awe of the duo's always impactful production whether tempered and toned down as in "Storm," absolutely bonkers in the beats of "Elevator Music," dope and dynamic as in "Labyrinth," or all of the above as in this remix. "Daydreamer" may just be the best example of Jack Beats' brilliance. Its rubber-band bassline is incredibly bouncy and plays perfectly with the crisp percussion, crackling top line and Example's vocals. They are masters of mixing these elements together, so much so that you often know exactly what's coming and when. The trick here though is that they make the ride ridiculously fun as they send the tension careening up and down like a roller-coaster. Further to this metaphor, "Daydreamer" is no rickety old wooden roller-coaster, but rather an elaborate and visceral affair sure to churn your stomach in ways you cannot give words to. The scorching synths, guttural growls and cartoonish effects are absolutely the lead of the track and you know what I'm referring to not because I've described them well but rather that they are so stunning and unique that you feel them in your very core.

Whether this is your kind of music or not, you cannot listen to "Daydreamer" and be unchanged. And isn't that the magic of not just Jack Beats, or even electronic music, but music as a whole? Once you feel it, you're forever changed, perpetually striving to relive that first, ever-so powerful feeling.FOLLOW FLUX PAVILION: FACEBOOK SOUNDCLOUD TWITTER
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Throwback Thursday: Tony Rallo & The Midnite Band - Holdin' On (Derek Kaye Rework)

For the first Throwback Thursday post of the year, I've decided to go back to one of my most played tracks from last year. Appearing in a Greg Wilson's Brixton Disco Festival Mix, Derek Kaye's raucous rework of Tony Rallo & The Midnite Band's 1979 "Holdin' On" immediately caught me. Obviously the fat and fantastic bass-line is the driving and commanding force of the original, but here Kaye has put it even more front and center. Riffing wonderfully, it gets better as it goes along, flourishing in this already incredible jazz-funk joint. It's not all about the bass though as the added percussion pushes it to new heights. And speaking of heights, we cannot talk about this track without showing some love to the awesome vocals (see them done live on Top Of The Pops in 1980 here). Sure to get you going, this high powered edit showcases both Derek Kaye's incredible ear and equally adept abilities.
Get "Holdin' On " as part of four track edit EP Kiss U All Over via Juno Records here.

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Throwback Thursday: SBTRKT ft. Little Dragon - Wildfire (Objekt Remix)

Over the past weeks Tiga has been posting his old episodes of My Name Is Tiga as aired on BBC Radio Six. A foundational show for me thanks to Tiga's inimitable wit and incredible track selections, I've been slowly going through each episode injecting myself with nostalgia and a lot of laughs. As a result I've found myself downloading a bunch of that throwback brilliance and while there's a ton of incredible stuff I could gush about, I've decided that for this Throwback Thursday post I'd focus on the incendiary excellence of Objekt's remix of SBTRKT's Little Dragon aided track "Wildfire." Unfortunately there are no full versions available for streaming so we'll have to focus on the shortened Soundcloud upload below, however the power and brilliance of TJ Hertz's tough techno take is unmissable.

A raucous and ruthless future is the deliriously awesome spin Objekt has offered in this new vision. The percussive power is epic, enough to rattle walls with a small subwoofer, just as the snare is sure to shatter bones. Adding the synths to the mix is quite simply cataclysmic. That said, "Wildfire" does not suffer from sheer weight or unwieldy gravity - it is no black hole. Rather, Objekt succeeds in pitting Yukimi Nagano's heavenly vocals against the unholy backdrop by brilliantly incorporating her at the most opportune times as though sprinkling her in like fairy dust. In fact, Objekt is able to retain much of the captivating quality of the original track, while re-contextualizing it into a techno titan - just as Tiga notes in his remix special with Gesaffelstein's remix of Lana Del Rey. Enjoy below and purchase here.FOLLOW LITTLE DRAGON: FACEBOOK SOUNDCLOUD TWITTER
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Eli Escobar - Live At House Of YES (Oct. 11 2019)

We all know what day it is. And because of that I struggled a bit to decide what to write about. Should I share a mix? Do a Throwback Thursday? Lean into the moment fully by doing something specifically spooky? While scrolling through my twitter feed Eli Escobar gave me an easy out, combining all three as he shared a recording of his set at Brooklyn's House Of YES earlier this month.

This nearly hour and half long set seems firmly rooted in the 80s and to my ear that's when the best Halloween records were released, however there's no overtly evil tracks in here. Rather Eli goes in with sensational synth-based tracks featuring giant grooves. The track selection is top notch, thoroughly rocking the house with funky french stuff in the opening, the bizarre brilliance of Divine's "Native Love" and the Village People's boisterous "New York City" in the middle, before the ever present power of The Pointer Sisters "Dare Me" and Phyllis Nelson's "I Like You" at the end. It should be noted however that these tracks are likely all of Eli crafting, saying in a tweet "I think every track here besides one or two is a personal edit."

If you're looking for a funky, fun and infectious dance mix that will have you powering through nearly an hour and half of whatever you're doing then look no further. Follow Eli Escobar below and be sure to look out for his forthcoming album Last Summer, which is due November 15th. Happy Halloween!FOLLOW ELI ESCOBAR: FACEBOOK SOUNDCLOUD TWITTER

Throwback Thursday: Hot Chip - Don't Deny Your Heart (Joe Goddard re-edit)

With Hot Chip's album A Bath Full Of Ecstasy having been released just over one month ago, I felt it was time to turn back the clock and focus on perhaps my favourite remix of Hot Chip, a re-edit from member Joe Goddard. Taken from 2012 album In Our Heads, "Don't Deny Your Heart" was the third single and features some of my favourite elements of all of Hot Chip's incredible catalog. As always Alexis Taylor's voice stands as the pristine pillar at the centre of sublime synths, genius grooves and masterful mix of communal vocals. That said, upon hearing Joe Goddard's 2013 retake it was clear that the pieces laid down in the original weren't quite given the glory they deserve.

More upfront with the funk and energy, as well as the vocal samples and little licks, Joe Goddard's re-edit really lets loose. It feels almost fearless it in its delivery, landing body blows right from the repackaged start. However the genius of Goddard comes in his thoughtful re-positioning of the shimmering strings sweeps and splashy cymbal work, setting us up for the eventual return to the brilliant opening synth bed. And this is where I must stop and address the hilarious mondegreen (misheard lyric) at the beginning. Noted by Stuart Maconie on BBC Radio 4 here, it was said tweet that brought me back to "Don't Deny Your Heart" and now has me saying "Willie Thorne" with each listen.

But back to the music, or dance-floor as opposed to the karaoke bar as it were. This edit does indeed propel listeners more towards their feet with the music forward re-fix. The more upfront percussion (steelpans especially) and extended groove sections really play into the track's title and subsequent lyrics ("don't forget to breathe"), give me and my heart exactly what we desire. My listening habits generally lead me to more music forward productions and this certainly delivers that, while still remaining true to the original's integrity. A god-send, Joe Goddard never fails when he lends his abilities to a track, even more so when he does it twice over. Stream and follow each Joe and Hot Chip below.FOLLOW HOT CHIP: FACEBOOK SOUNDCLOUD TWITTER
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Throwback Thursday: The Shapeshifters - Lola's Theme

Fifteen years ago this month the then duo of The Shapeshifters unleashed the undeniable majesty of "Lola's Theme" on the world." In fact tomorrow marks the 15th anniversary of its immediate chart topping success in the UK. Jacking up a Johnnie Taylor sample from the 1982 track "What About My Love," Simon Marlin and Max Reich added vocals from Cookie and one of the world's most played disco house tracks was born. Not only was its success sweeping, but its groove certainly could be described as such as well. It is a spinning in ecstacy type production and has spawned countless remixes and recastings, in large part thanks to the captivating quality of its epic orchestra-like allure. In fact as I write this I'm listening to Spotify's playlist of tracks named "Lola's Theme" and I barely noticed a difference as Pete Tong, Jules Buckley and The Heritage Orchestra's version played.

Watch the original video and find a few of my favourite versions (minus Prydz) in Spotify playlist below.

RIP Philippe Zdar

You likely know by now, as news broke late last night, one of electronic dance music's most influential people has passed. Philippe Cerboneschi, more widely known as Philippe Zdar, fell from a building in Paris, dying at age 52. However, his presence will remain with us forever. A true pioneer, he was perhaps best known for his part in the duo Cassius, but his masterful mixing skills and undeniable ear sent his musical fingerprints in seemingly infinite directions. His production credits range from Franz Ferdinand and Kanye West to Chromeo and Phoenix. And while his time on this plane of existence is complete, we can expect more new music from him as two albums lay in wait for tomorrow as he contributed to Hot Chip's A Bathful Of Ecstasy and indeed Cassius' first album in three years, Dreems.

While waiting for those final bits to be released, I did a little Throwback Thursday by retracing some of my favourite Zdar in the playlist below. I'll leave you with that, encourage you to read an insightful piece from Laura Snapes on The Guardian here, and, if you feel compelled, do some digging of your own - the reach of Philippe Zdar is, as I said, seemingly infinite. RIP Philippe, thanks for everything...

Throwback Thursday: Kate Bush - Running Up That Hill (Louis La Roche Remix)

Just yesterday I noticed it's been a while since my last Throwback Thursday post and since serendipity struck as today I came across another remix of "Running Up That Hill," it's only right to share yet another one of the awe-inspiring remixes from the masterful Louis La Roche.

The quality and staying power of Kate Bush's original is obvious as it continues to get plays, open ears and garner edits alike, but let me take you back to 2012 when Brit Brett Ewels took to his French touch persona to give the 1985 classic even more triumphant glistening glory. Letting the brilliant backing loose, La Roche strengthens the synths and makes room for a marching, ascendant beat. The chord progressions still pluck our heartstrings with an angelic efficacy, however the dancier delivery is more rooted in the bass/base. And for this La Roche has added extended instrumental sections for feeling out the room and becoming one with the dance-floor. It may not be the 12" edit we're seeing a lot of lately, but there's certainly a lot of bang for you buck with this one. Stream below, and if you find it up your alley, do not hesitate to look into more of Louis La Roche's productions from this time period.FOLLOW LOUIS LA ROCHE: FACEBOOK SOUNDCLOUD TWITTER

Throwback Thursday: Marlena Shaw - Touch Me In The Morning

Nothing like a little disco diversion especially after all the egregious Halloween heat. But why take the time to showcase this 1979 song from Marlena Shaw? One, it's quite simply stunning and two, it's become clear that Skream has been rinsing it out during his latest tour. He played it last month at CODA, and a video appeared on my Twitter today, incorrectly credited as an edit, before Skream corrected it as the original mix. I can honestly say I have not been in a club environment like that night.

I struggled to describe the kind of set Skream played, one because its contents spanned nearly half a century, and two because maybe more than anyone I've seen, he played tracks and artists with whom I was entirely unfamiliar. That said it was not just a treat to take in sonically, but visually as well. His work on the decks was clearly competent and focused, but it was more about his crowd interaction, and I'm not talking about being on the mic or jumping on the decks throwing cake or anything like that. He was obviously leading through his selections, but with such a wide swath of genres and sounds you might think it difficult for people to keep up, stay engaged and entertained. No matter, he succeeded in that sense incredibly, especially as he worked into the final throws of the night with tracks like this.

"Touch Me In The Morning" was the most memorable of the extended disco dance section, when more than anything he was leading the party through his own obvious enjoyment of the tunes he was selecting. Sure the crowd had thinned since the peak hours, but the strength of Marlena Shaw was unavoidable. Pure power in the piano and her vocals leave your heart palpitating, swooning and swinging in ecstasy, blood pulsing through your veins to the rhythm of the bass, as the intensity rises towards the title line. The first few minutes are fantastic and cannot be discounted in the beautiful build, but when she reaches fever pitch after the 3 minute mark and the triumphant trumpet enters you're helpless but to melt into the club, becoming one with the world, taking you "to a place where no one's ever been." It's safe to say not only was everyone in CODA touched early in that morning by Skream's sublime Shaw selection, but I for one left the club to that cold morning light a satisfied soul.

Throwback Thursday: Phonat - Set Me Free / Learn To Recycle

Yesterday on my way home from Bump In The Hump I was listening to music on my iPod Touch (which itself is a throwback), but it has been glitching lately, leaving only a fraction of my normal music on it. This might normally be really frustrating, but thankfully there were a few gems left, one of which was Phonat's "Set Me Free," one of my earliest and favourite introductions to electronic music.I owe a lot of my introduction to electronic music to one man in particular, a childhood friend who unfortunately has grown apart from me, but had the prescience to show me the likes of Fake Blood, Louis La Roche, and of course Phonat before seemingly anyone I had met at university, let alone our tiny hometown. We knew about Benny Benassi and deadmau5 but this was different, this was weird, trippy and ever so alluring. The synths sublimely satisfying, the groove glitchy yet gorgeous, and who would've thought a guitar could be used in a track like this. But then there's the mind-bending movement and turnt transitions that hold the key to this five minute track's genius. String sweeps and swells, followed by funky grooves and electro energy, there's no pinning this track, nor Phonat, down. Which leads me to the other track I was introduced to at the same time as "Set Me Free," the lush, lurid and revolutionary "Learn To Recycle," which was also released on his debut, eponymous album.
Even more glitchy and groovy than its picturesque predecessor, "Learn To Recycle" is eminently stylish and slick, again offering up garish guitar work atop a fantastically funky, ever changing electro soundscape. Clearly the work of a capable musician, the chords and playful synth work are stunning as is the genius guitar, but it's Phonat's multi-tier track building that makes this such a sensation. He manages to give it multiple lives and identities over the course of the nearly six minute run time, constantly bursting into flames and arising out of the ashes. Without listening and just reading this description you might think it difficult to dance to, but the hardest part is avoiding your jaw on the floor.

Listening all these years later, it's no wonder Skrillex was quoted as saying "Phonat is easily the most underrated producer [...] I don't know why he isn't the biggest thing out there." These tracks still stand the test of time, sounding as fresh and fire as the day they were released. Maybe we weren't ready for him back then, but I feel that if Phonat were to be a new artist these days, he'd have one of the biggest fan bases around. That said, there's no discounting his role in inspiring many of today's artists, so we certainly have that to be thankful for. However it would be cool to have new Phonat too, as his most recent release came back in 2017. Either way I really enjoyed this trip down memory lane, and hope you did too.

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Thanksgiving Throwbacks

After an uneventful scroll through my Soundcloud feed this morning, I changed gears to focus on tracks not released this year, but indeed played an immense role in my year. So here's a quick taste of some throwback tracks that I'm awfully thankful for. Enjoy via playlist and read brief descriptions below.

Shina Williams - Agb'oju L'ogun
First heard in an Erol Alkan mix. Minimal yet massive, majestic groove-fest.

Poolside - Harvest Moon
First heard in a Greg Wilson mix. As if Neil Young recorded the original on a moon. Weightless wonder.

Turbotito and Phillipi & Rodrigo - Canção Para Laia (JKriv Remix)
First heard in a Kölsch playlist. Brilliant blend of techno, acid, and funky electronic grooves.

The Salsoul Orchestra - Salsoul Rainbow (Dimitri From Paris DJ Friendly Classic Re-Edit)
First heard in Horse Meat Disco's Essential Mix. Sublime strings, godly grooves in a pure disco delight.

Ignition - Sunday Secret Lover (Greg Wilson Edit)
Can't exactly remember where I came across this, but I feel like someone asked about it on Twitter, inciting me to look it up myself. My favourite Greg Wilson edit, in large part due to the section at 2:42.

Michael McDonald - Sweet Freedom (Live)
First heard this version on PBS' Soundstage, but it was the 12" version that got me hooked. I've always enjoyed MM's voice but it's the horn riffs that kept me coming back. My favourite track to throw on as I'm walking home, whistling and singing all the way.

Average White Band - Pick Up The Pieces
Another one first heard in a Greg Wilson mix, although it feels so familiar. Can't help but get lost in this funky groove. Very few tracks induce such a confident strut the way this does.

Todd Terje & The Olsens - Baby Do You Wanna Bump
Right up there with my favourites song of the year, so it's weird I can't remember where I first heard it, although I feel it was another Erol Alkan nod. Cannot get enough this groove or the horns. Top Terje.

Paul McCartney - What's That You're Doing (ft. Stevie Wonder)
Another one first heard in Horse Meat Disco's Essential Mix. Jumped out at me immediately, like "damn, I need this" only to have jaw drop to find out it was McCartney. One of the funkiest riffs ever.

Throwback Thursday: Röyksopp & Robyn - Do It Again EP

Yesterday Swedish singer, songwriter and producer, Robyn broke a long silence unleashing "Missing U" on Annie Mac's show on BBC Radio One. With additional production from Metronomy's Joseph Mount and Teddybears' Klas Ahlund, it is as triumphant a return as one can conceive. It shines spectacular, overflowing with warmth and, as with any Robyn led track, leaves you shaken to the core.
With that in mind, I figured it great excuse to throwback to my favourite work from her, perhaps the greatest collaborative EP ever, Do It Again with Norwegian duo Rökysopp. The 5 track 2014 release is beyond brilliant, both from a pure musical standpoint and of course a vocal/lyrical point of view. The massive, and indeed magical opening number "Monument" is an uber cool creation. Oozing with atmosphere and luxuriant with love it straddles the line between electronic epic and performance art. The drum work, billowing belly of bass, and sax solo make it unlike any production I've ever heard, but my favourite bit has to be Röyksopp's treatment of Robyn's vocals.

Drifting away from this dreamy musical masterpiece, the second track "Sayit" is a club killer. Raucous and raunchy it is the black sheep of the EP, yet sets up my favourite track, the undeniable earworm that is "Do It Again." Also club tilted, it is a sensational stomper that again showcases stunning production and Robyn's resplendent vocals. The rave atmosphere so easily sweeps you off your feet, that you're powerless to its playful potency. At the time of its release I was working a landscaping job and I would often follow its titular task and play it on repeat for incredible lengths.

The fourth track "Every Little Thing" is again a stunning success. Like its predecessors it's overflowing with instrumentation, much of it mere backing but undeniable in its impact. Once again going back for a more expansive, live performance feel, rather than a club cut, it leads into another epic bookend "Inside The Idle Hour Club." Expansive and atmospheric it is a loving, let us down easy kind of finale, full of warmth and poise. Do yourself a favour and give Do It Again a play if you haven't already.FOLLOW ROBYN: FACEBOOK SOUNDCLOUD TWITTER
FOLLOW RÖYKSOPP: FACEBOOK SOUNDCLOUD TWITTER

The Melker Project - Ballin' Oates

No it's not Throwback Thursday, but today I got invited to see Hall & Oates at the Air Canada Centre. So I figured no better time to share one of my favourite projects, that of Scott Melker and his ingenious combination of classics from Fleetwood Mac, Red Hot Chili Peppers, and of course Hall & Oates, with rap, hip hop and RnB. Sadly removed from Soundcloud (but still on Youtube below) the Ballin' Oates project is my favourite with Wu-Tang, T.I., Twista and others adding to the allure that is Hall & Oates.

The classics from Hall & Oates are unmistakable, undeniable and still stand strong despite all the additional instrumentation and vocals, and the first track "Claneater" is a perfect example of that. Pitting Wu-Tang against "Maneater" shows off Melker's masterful recasting, as these are actually not the originals, but completely replayed and remixed versions with additional acapellas. And like with "What You Know? You're Out Of Touch!" the pop perfection of their backing track continues to resonate resplendent despite this trapped out recasting.

The visceral vibrations each of these tracks brings is exactly why I'm so excited to see duo take the stage tonight; there is just some kind of magic that permeates throughout their productions. And again that alchemy comes through in droves as Twista's fearsome flow bounces atop the keys of  "Kiss On My List," as though straight out of Big. These tracks are tremendously fun too, and I don't mean just the production either; part of the fun arises in the names as "Rich Girl Meets Rich Boy" and gets some d's thrown on it. The final track "Melker Can't Go For That" doesn't get any additional vocals, but instead receives a pure remix from the man himself. It further showcases Melker's mindset and dank trapped out delivery, alongside the supremely smooth and sultry original synths. It is the kind of track you could end a set or evening with, sonically laying listeners down easy, tucking them in for the night.

If this excites you at all, I strongly recommend checking out more of Melker's catalog (best done through Youtube). Also be sure to follow his socials below and maybe you'll find some download links.

FOLLOW SCOTT MELKER: FACEBOOK SOUNDCLOUD TWITTER